someraincoatedlovers writes:

from :
'80s Bands Remixed For Compilation - Aversion.com

Apr 15, 2005
Since nearly every new band seems to worship at the altar of '80s bands, it's only fitting that they get the chance to play with the real thing: Modern rockers remixed a stable of new wave and post-punk cuts for an upcoming compilation.

The new world order and the old guard collide on Rhino Records' Future Retro, which lets today's rockers try their hand at remixing classic '80s songs. It's due in stores July 19. In addition to the usual suspects of The Cure, Morrissey and New Order, cuts by Grandmaster Flash, Yaz and Book of Love get the re-treatment on the album.

Future Retro's track listing is:

New Order's "Bizarre Love Triangle," remixed by Crystal Method
Echo and the Bunnymen's "Lips Like Sugar," remixed by Way Out West
INXS's "Need You Tonight," remixed by Static Revenger
Yaz's "Situation," remixed by Richard X
Howard Jones' "New Song," remixed by Swayzak
Devo's "Girl U Want," remixed by Black Light Odyssey
The B-52's' "Private Idaho," remixed by Scissor Sisters
Alphaville's "Forever Young," remixed by Bill Hamel
Grandmaster Flash's "White Lines (Don't Do It)," remixed by Elite Force
Book of Love's "Boy," remixed by DJ Irene
Morrissey's "Suedehead," remixed by Sparks
B-Movie's "Nowhere Girl," remixed by Adam Freeland
The Cure's "The Walk," remixed by Infusion

Leaving-by-chance writes:

Another fascinating mess of an interview from ex-Suede darlings Bernard Butler and Brett Anderson.

It seems as if they cannot go an interview without mentioning Morrissey, like some pre-puberty cum-a-thon, so here it is …

I refuse to give the link to a Billy Sloan article

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FORMER Suede stars Bernard Butler and Brett Anderson have vowed not to perform their classic hits Animal Nitrate and Beautiful Ones again.

They claim they don't want to ruin the band's legacy with sad cabaret-style versions of their songs - like Morrissey.

Bernard and Brett have reunited to form a great new group called The Tears. Their single Refugees is released on April 25 as a taster for debut album, Here Come The Tears. And when they headline the X-Tent at T in the Park on July 10, don't expect a string of Suede hits.

Bernard said: 'We don't want to be like bands who reform for arena tours and go through the motions to make piles of cash. They make no positive contribution to music whatsoever. You just think: 'Why the hell are you bothering?' 'I think Morrissey is completely sad for what he's done to The Smiths' songs.

'Do you really think his latest version of There Is A Light That Never Goes Out can compare with the original?

'It's dreadful. I learned to play a guitar strumming along to Smiths' records. They're close to my heart... but to hear Morrissey play his songs in that way is like a dreadful pub rock band. It's a joke.'

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I thought I’d give my two pence now for what it’s worth. I don’t know whether to believe the article being that Morrissey personally tore apart Sloan in his Paisley show in September of last year, so this may be divine justice on the part of Sloan, getting Butler and Anderson into a discussion of – ‘Oh, I hear you like Morrissey’ – ‘Have you heard the new single?’

Also, it really fucks me off that once again Butler and Anderson feel the need to namecheck every person who is remotely even connected to their music. Of course the story goes that Morrissey gave them a leg-up but do we really want this mud throwing in a public place? Well I’m unsure as to whether anyone actually reads Sloan’s bile never mind the public. These guys are reasonably talented and I’m looking forward to their new album but why can they not focus on this? What do they have to say as opposed to what some person they knew many years ago has to say? Last week they were falling over themselves to deliver the best compliment on Morrissey, now they’re finding ways in bring him down and for what? To promote their new album? I’d much rather they discuss its merits, give fans an ideas as to what they can expect and how they can progress on it but no, the album has been delayed so they can fag about giving pointless interviews and puffing their fucking egos until the album no longer matters. We know you use to be in a band called Suede, we know you kind of knew Morrissey and we know you love him but please for the love of God, concentrate on your album, which you actually spent some time making, and not dragging up the past like some perverted badge of honour.

(Obviously Butler hasn’t stood with 2,000 singing their hearts out to it)
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DT - here is the link to the Sunday Mail article.

Kent Brockman sends the flyer:

front
back

Word is that the band name spelling is changing to "Red Lightning" to avoid confusion.
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• Related item: Alain Whyte returns with new band Red Lightening (Los Angeles, Apr. 30) - Apr. 14, 2005

Frances sends the review (no source indicated):

By Shannon Long
Published: Friday, April 15, 2005

Let me begin this review by saying that live albums are generally made for the fans of an artist. That being said, I am a fan of the work of Morrissey (moreso for his work with the Smiths than his solo work, but a fan nonetheless). Live at Earl's Court is a documentation of a concert Morrissey played in London to a crowd of 17,183 people on December 18, 2004. This concert is important because it came soon after the release of his first album in seven years, You Are the Quarry; and the strength of this album is demonstrated here by the fact that its tracks stand up next to Morrissey classics.
The concert starts off with "How Soon Is Now" one of the Smith's most popular singles, and then one of the best tracks off of You Are the Quarry and what I consider to be one of his best singles in many, many years, "First of the Gang to Die" after which he says to his audience, "Thank you for coming here. Thank you for being you." He then follows with a Morrissey classic, "November Spawned a Monster." He continues performing the old and the new, closing with "Last Night I Dreamt Somebody Loved Me," in what amounts to quite an enjoyable live performance.

The renditions of the Smiths songs "Big Mouth Strikes Again," "There Is a Light That Never Goes Out," "Shoplifters of the World Unite," and the already mentioned "How Soon is Now" and "Last Night I Dreamt Somebody Loved Me," are, of course, not the same without Johnny Marr, but they end up being quite good. He cleverly replaces 'Walkman' in "Bigmouth Strikes Again" with "iPod."
He covers Patti Smith's "Redondo Beach," which is a good cover indeed and deserves its status as a single for the album. The performance of "I Have Forgiven Jesus" here is particularly good as well, and should be noted.

The issue should be addressed that many people just don't like Morrissey. Every artist has his/her detractors I'm sure. Morrissey certainly has his; critics were often brutal during the late nineties. Besides professional critics, many people can't get over Morrissey, the man.

The fact is that Morrissey is rather melodramatic, and it may seem that he seldom writes a joyous song. While there are several Morrissey songs that seem to be cheerful and rather witty to me, Morrissey is more well known for songs with titles such as "Never Had No One Ever" and "Miserable Lie." He is often portrayed as overly glum and a poster boy for "sensitive" types. There may be much truth to these portrayals, but I think the music of Morrissey is enjoyed by many types of people.

Despite the many who are critical of Morrissey's talents, he has been quite successful. He can hardly be seen as a mere figure of an underground subculture, and he's well known. While some people may not like the idea of Morrissey being a "mainstream" figure, he certainly has achieved that status in his native country and is certainly not too terribly far from it here.

Frances sends the link:

Morrissey: Who Put The 'M' In Manchester? by Lisa McKay, Blogcritics.org

Retired Whore writes:

Nancy Sinatra was playing at the Grand Rex yesterday evening. Richard Hawley was the special guest and there was also a very special appearance of Jarvis Cocker who was in the crowd and was asked to go on stage to join Nancy for a song.

She mentinned Morrissey only once, prior to sing Let Me Kiss You. She said : if you listen carefully to the following song, you will hear my good friend Morrissey. I'm not sure he did the styling for the show for she was wearing a fur jacket (!).

I tried to spot Moz in the crowd but as I was on the mezzanine, it was difficult to see recognize anyone from above.

It was globally a very pleasant performance supported by a nice and warm crowd.

goverton writes:

There's a hideous cartoon (scan) of the Reverend Ian Paisley, a notorious Northern Irish MP, doing a Morrissey impression singing "Heaven Knows I'm Muserable Noy" (sic).

It was on the cover of the Friday Review supplement of the Guardian in the UK today, illustrating an article about what UK politicians listen to (there's a general election here you know).

Thankfully neither Morrissey nor The Smiths were mentioned by any of MPs interviewed.